Johannes Bosboom

Collection Mr. J.R.H. Neervoort van de Poll
Amsterdam, Rijksmuseum, on loan
Sale Amsterdam (Frederik Muller), November 1921, lot 1 (illustrated), sold for Dfl 5.900,-

Amsterdam, Arti et Amicitiae, 1892
London, French Galleries, 1911

G.H. Marius and W. Martin, Johannes Bosboom, The Hague 1917, p. 40 and 134, titled: 'Avondmaalsviering in de Geertskerk te Utrecht'
D. Hannema, Catalogue of the H.E. ten Cate collection, Rotterdam 1955, cat.no. 33, ill.no. 57

Original frame. Some minor damage to the edges of the paper in the upper corners and the lower left corner due to frame abrasion. Otherwise this work is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the catalogue of the H.E. ten Cate collection, the subject of the present lot is described as follows: A view inside the Gothic church. The light enters from the right. In the foreground many worshippers are sitting on chairs and benches, listening to the preacher in the pulpit in front of the choir-screen. From the ceiling hang four brass Renaissance chandeliers. A large painting and a watercolour of the same subject, both from about 1852, are in the collection of the Fodor Museum in Amsterdam.

In their book on the artist G.H. Marius and W. Martin describe how the Geerte church in Utrecht fascinated Bosboom for many years. In his autobiograhy, written in 1881, Bosboom mentions the large painting in the Fodor Museum as proof of the progress he had made in his work. In this large painting the artist was searching for a softer light with less strong contrasts, but the reflections of light are not entirely convincing. In the opinion of Marius and Martin the present lot, more loosely painted, was of greater artistic value than the finished version in the collection of Fodor. They write: 'The much smaller copy in the Neervoort van de Poll collection - now on loan to the Rijksmuseum - is of infinitely greater value, because of the successful solution of its light effects, its greater warmth, and its powerful execution' (Marius & Martin, p. 40).